In a 2003 interview by Benjamin H.D. Buchloh, Thomas Hirschhorn clarified his typology of sculptural-architectural forms situated between high culture and mass culture, private sentiment and public expression. The Raymond Carver Altar, Piet Mondrian Altar, Ingeborg Bachmann Altar, and Otto Freundlich Altar take the form of spontaneous memorials that so often mark sites of tragic and violent death. In them, motley collections of laminated photographs, flickering candles, cellophane-wrapped bouquets, and personalised mementos declare collective grief and devotion. Like the Altars, the more expansive Monuments – dedicated to Baruch Spinoza, Gilles Deleuze, Georges Bataille, Antonio Gramsci – express what Hal Foster has called an archival impulse, a ‘move to (re)cathect cultural remnants’, namely the work and thought of radical philosophers and artists.1¹ It was in the face of the ‘failure’ of the Deleuze Monument, which the artist was forced to dismantle prematurely, that Hirschhorn first articulated the principle of ‘presence and production’ that subsequently governed the Bataille Monument, Gramsci Monument, and his numerous other works in public space. 2² Immersive and of limited duration, ‘presence and production’ works are often situated in working class neighbourhoods and realised with the aid of their inhabitants, who have been subjected to the legacies of colonialism and political and economic marginalisation. The Altars and Monuments bear the hallmarks of Hirschhorn’s approach to artwork in public space: adoption of exacerbated weakness in relation to urban surroundings, especially through mimicry of states of devaluation; development of a lexicon of provisional structures; appropriation of the language of non-art material culture; and activation of processes of identification and (as Claire Bishop has stressed) disidentification vis-à-vis the publics to which they are addressed.3³

中文翻译：

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Hirschhorn 的困境，或如何不同时骑两匹马

在 2003 年 Benjamin HD Buchloh 的一次采访中，Thomas Hirschhorn 阐明了他的雕塑-建筑形式类型，介于高雅文化和大众文化、私人情感和公共表达之间。在雷蒙德·卡佛坛，蒙德里安坛，英格博格·巴赫曼祭坛，和奥托符合Freundlich坛采取自发纪念的形式，常常标志着悲剧和暴力死亡的地点。在这些作品中，各种叠层照片、闪烁的蜡烛、玻璃纸包裹的花束和个性化的纪念品宣示着集体的悲痛和奉献。像祭坛一样，更广阔的纪念碑——献给巴鲁克·斯宾诺莎、吉尔·德勒兹、乔治·巴塔耶、安东尼奥·葛兰西——表达了哈尔福斯特所说的档案冲动，一种“转向（重新）引导文化遗迹”，即工作和思想自由基哲学家和artists.1的¹这是在所述的“失败”的面部德勒兹纪念碑，其中艺术家被迫过早拆除，即希尔施霍恩第一铰接，其随后管辖的“存在和生产”的原则巴塔耶纪念碑、葛兰西纪念碑以及他在公共空间的众多其他作品。2 ²身临其境且持续时间有限的“存在和生产”作品通常位于工人阶级社区，并在居民的帮助下实现，他们遭受了殖民主义和政治和经济边缘化的遗产。祭坛和纪念碑具有 Hirschhorn 在公共空间中处理艺术品的方法的标志：采用与城市环境相关的加剧的弱点，尤其是通过模仿贬值状态；制定临时结构词典；非艺术物质文化语言的挪用；和激活识别过程，以及（正如克莱尔·毕晓普所强调的）对它们所针对的公众进行去识别。3 ³